Repressed. "The Velvet Underground Singles 1966-69, is a seven-disc box set honoring the legendary New York combo's 7" vinyl output in their rare mono versions. The set features exact reproductions of Velvet Underground singles, two of them with their original picture sleeves. The singles are packaged in a distinctively designed box, along with rare vintage photos and new liner notes by Rolling Stone's David Fricke (who also penned the acclaimed notes for the historic 1995 Velvets CD box set Peel Slowly and See). The Velvet Underground -- whose membership included Lou Reed, John Cale, Sterling Morrison, Maureen Tucker, Doug Yule and Nico -- introduced numerous sonic and thematic innovations that laid much of the groundwork for punk and alternative rock. Although they're now acknowledged as one of the most influential bands in rock history, during their existence the Velvets barely registered on mainstream radar, and were often reviled by mainstream observers as well as hippie-era arbiters of cool. But, as Fricke writes in the new set's liner notes, 'Somewhere, in another rock & roll universe, the Velvet Underground are more than a legendary band. They are stars, with hit singles -- the original seven-inch masterpieces inside this box.' Although they never came close to scoring a hit, the Velvet Underground was ideally suited to the 7" single format. 'The Velvet Underground were a great singles band,' David Fricke notes, adding that the Velvets 'invented modern rock with searing guitar distortion, throbbing improvisation and brutally realistic tales of life on the wild side. But they did it all in these classic pop songs -- compact miracles of raw drive, intimate beauty and Top 40 ecstasy, heard again in the original, thrilling mono single mixes.' The seven singles included in The Velvet Underground Singles 1966-69 comprise the four Velvets singles originally released in the U.S. on the Verve and MGM labels, plus an additional pair of singles that were prepared for release but never made it to the marketplace and a special radio-only promotional single. The singles feature alternate mono versions that differ in significant ways from the songs' better-known stereo album versions. For instance, the band's 1966 debut single 'All Tomorrow's Parties' appears here in a special mono edit that amplifies the song's melodic beauty and sonic tension, and a mono mix of their sophomore single 'Sunday Morning' emphasizes the song's haunting quality. Meanwhile, the mono single version of 'White Light/White Heat' exemplifies the vintage Velvets' stark, distortion-laden fury, while a mono edit of 'What Goes On' accentuates that song's inherent pop jangle. The Velvet Underground Singles 1966-69 also includes two unissued singles, one with a never-released pairing of 'White Light/White Heat' backed by 'I Heard Her Call My Name,' and the other with 'Temptation Inside Your Heart' and 'Stephanie Says,' recorded in the waning days of the band's classic Reed/Cale/Morrison/Tucker lineup and unheard by the public for nearly two decades thereafter. The set's seventh single is a reproduction of a vintage promotional disc, a two-and-a-half minute radio spot promoting the band's eponymous third album and featuring legendary disc jockey Bill 'Rosko' Mercer, with excerpts from 'I'm Set Free,' 'What Goes On' and 'Beginning to See the Light,' as well as a picture sleeve with an un-airbrushed variation on the album's iconic cover art. By presenting the Velvets as a singles band, The Velvet Underground Singles 1966-69 shows, in David Fricke's words, 'rock history the way it should have been: the Velvet Underground as the New York Beatles, guaranteed to blow up your radio and your mind.'"

Subtitled: The 60's Chicago Garage Sound of Quill Productions. "During the peak years of the '60s garage band wave, Pete Wright was one of the nation's top independent record promotion men. His records were not only hits on Chicago's crucially important WLS but also in small markets throughout the Midwest. Whether in the Windy City or in these smaller outposts, he was tipped off to tons of untapped local talent. So much so that launching a record label was the next logical step. Thus was born Quill Records, a short-lived but supremely cool label heavily indebted to the garage band sound. This definitive overview collects only the most rockin' sides from the label; from the Malibu's who manage to outdo their idols the Animals, at least in pure unbridled energy, to the Skunks who, on their overdriven, fuzzed-out cover of 'Do the Duck' could be mistaken for a UK mod/freakbeat act. And that's just for starters in a set of teen rave-ups from the likes of the Delights, the Commons, Ltd., Chances R, the Riddles and more. If the appearance of the Don Caron Orchestra in the track listing causes serious head scratching amongst the more discerning of you garage connoisseurs, well, we couldn't help ourselves. Their 'Hot Pastrami' may be the most scorching sax 'n' reverb instrumental you'll hear all year. This set also includes rare photos, label scans and extensive liner notes (with interviews from both Pete Wright and many of the bands)." Limited numbered edition of 1000 copies.

"In 1965, the Preachers were as wild as it comes, both in image and sound. Despite their long haired/holier than thou hybrid look, this L.A. fivesome didn't preach so much as howl a hi-octane punk-blues for the Sunset Strip set. Their greatest moment remains 'Who Do You Love,' an insanely intense reading by the group's original teenage wildman, Richard Fortunato. Moonglow Records canned him for being too uncommercial, which just means he's one of our favorites. The Preachers tried riding the folk-rock wave but thankfully, they always come out sounding like the Preachers. Their previously-unheard 'Hey Joe' is a thrilling folk-rock failure full of improvised words and the most nasally vocalizing this side of the Seeds. Moonglow Records hated this one too, which just means you gotta hear it. It's our turn to preach about these garage heroes, so we've also included their classic 'Stay Out of My World.'"

"A decade before he was topping the country charts, Joe Stampley fronted one of the deep South's most legendary and rockin' '60s combos, the Uniques. Once signed to Shreveport, Louisiana-based Paula Records, the Uniques made waves nationally on their very first release, Not Too Long Ago. That pop classic (faithfully/recently covered by Nick Lowe) is just one of many highlights of their '66 debut LP, Uniquely Yours. According to the master tape, this record was originally going to be tagged The Uniques In Action; a shelved album title that could not have been more apt."

"Plainly and simply, the incendiary singles Jerry Lee Lewis cut for Sun Records in the mid-1950s and early 1960s left a flaming footprint on the face of popular music and forged the die of rock 'n' roll itself. Which means that when it comes to rock 'n' roll, it doesn't get any more essential than Sundazed's roundup of 24 of the killer's rowdiest, raunchiest, and most rollicking Sun sides; explosive cuts like 'Great Balls of Fire,' 'Whole Lot of Shakin' Going On,' 'Crazy Arms,' 'Breathless,' and many more. A fundamental cornerstone of any music collection worth a damn, sourced from the analog mono masters."

New double CD version of this album, which upgrades the previous Sundazed CD edition from 2001 (SC 11089). "One of the most remarkable unheard albums of 1969, Genesis, the sole release by San Francisco-based sisters Wendy and Bonnie Flower, has emerged as an acclaimed pop-psych touchstone. Brimming with melodic confections and laced with radiant, sisterly harmonies, the set's breezy Brazilian splashes and soft-rock strains convey a sophistication that belies the artists' tender ages (Wendy, 17; Bonnie, 13). Produced for reissue by WFMU's Irwin Chusid (Raymond Scott, Esquivel, the Langley Schools Music Project) with Wendy & Bonnie's full participation, Sundazed's deluxe edition of this lost gem, on double CD and high-definition triple vinyl adds a wealth of early singles, newly discovered demos, and dramatically alternate vocal takes to the original release. A masterpiece of West Coast rock, Genesis will leave any sunshine pop lover positively beaming."

"Sundazed presents the high-definition vinyl reissue of the ultra-rare mono edition of Big Brother & The Holding Company's 1967 debut! Besides being the album that introduced the world to Janis Joplin, Big Brother & The Holding Company's first release stands as one of the classic recordings of '60s rock. Joplin had added her fiery wail to the archetypal Haight-Ashbury acid-rock quintet only months before it entered the studio to make the album, and for the sessions, she shares vocal duties with bassist Peter Albin and guitarist Sam Andrew. But, thanks to the LP's raging single, 'Down On Me,' it was immediately clear to radio audiences of the time that the Texas-born singer was a new force to be reckoned with. In addition to Joplin's inimitable blues cry, Big Brother's other key strength lies in the scraping, distorted guitars of Sam Andrew and James Gurley, which are in heavy abundance on such choice cuts as the trippy 'Light Is Faster Than Sound,' the punkish 'Women Is Losers,' and the group's fuzzy, droning remake of Moondog's 'All Is Loneliness.' Cut from the original mono masters, this Sundazed edition adds two scarce single-only sides."

"By far the most ominous-sounding of the Bay Area's 1960s psychedelic bands, the music of Berkeley's Mad River comes across like a spiraling, acid-spiked descent into hell. With a raw, garagey style marked by Lawrence Hammond's quavering vocals and the interlocking exchanges of guitarists David Robinson and Rick Bockner, Mad River's sound conjures a darker, more menacing version of Quicksilver Messenger Service or early Country Joe and The Fish. No wonder the quintet's self-titled 1968 debut has long been at the top of many collectors' want lists. Mad River's tabs of tortured soul -- cuts like the lysergic opening rush of 'Merciful Monks,' the lengthy, labyrinthine 'The War Goes On,' and the truly demented 'Amphetamine Gazelle' -- add up to one cathartic ride, a ride that psych-heads will be tripping all over themselves to take again and again. Sundazed's exact reproduction of this lost classic is sourced directly from the original Capitol Records stereo masters."

"Garage fans agree: We The People's ragin', tough-as-nails punk tracks 'Mirror of Your Mind' and 'You Burn Me Up and Down' rate among the era's best. But believe it or not, this band was capable of even more. Along with the above two hammer-down classics, Too Much Noise collates everything, the seminal -- and surprisingly diverse -- Central Florida outfit cut for the Challenge label during the band's mid-'60s heyday, including the raga-rock fave 'In The Past' (covered by the Chocolate Watchband) and the tender folk-rock ballad '(You Are) The Color of Love.' Sourced from the original analog masters, here are We the People's three scarce and essential Challenge single sides plus material recorded for the label but unreleased at the time -- all of it in raw, skull-crushing fidelity on CD and high-definition vinyl."

"It had been nearly 20 years since Roger McGuinn had last performed in Spain, but in September 2004, the former Byrds leader and two of his treasured and trusty 12-string guitars made their way to the Basque medieval city of Vitoria-Gasteiz for a special solo set at the revered Azkena Rock Festival. And for this magical visit, McGuinn fans will be thrilled to learn, the tape was rolling. Beautifully recorded by Spanish national radio, this incredibly intimate, 21-song double album finds McGuinn chiming his way through glorious versions of Byrds hits ('Turn! Turn! Turn!,' 'Eight Miles High,' 'So You Want to Be a Rock 'n' Roll Star,' and others) and his trademark inimitable readings of Bob Dylan classics ('My Back Pages,' 'Knockin' on Heaven's Door,' and, of course, 'Mr. Tambourine Man'); along the way, the folk-rock icon peppers the program with poignant anecdotes about his career and the songs themselves. Long-time fans, however, will completely swoon over the versions of less-frequently revisited gems like 'Lover of the Bayou,' 'Jolly Roger,' and 'Drug Store Truck Drivin' Man.' Limited to 1,000 numbered copies, this high-definition double-vinyl set is encased in a lavish gatefold jacket containing evocative liner notes."

...1962-66. "One of the most stubborn myths of revisionist musical history is this: the early '60s were the Dark Ages of American pop, a sad and embarrassing era of prefab teen idols and silly dance crazes that was put out of its misery by the British Invasion. In reality, strange and wonderful things were happening with American music in the months before The Beatles met Ed Sullivan, creative big bangs that continued to evolve for decades to come. In Detroit, Berry Gordy was defining the Motown Sound, while Stax and James Brown were inventing soul music. At 1650 Broadway, the Aldon table of songwriters was bringing sophistication to teen pop, while The Four Seasons reinvented group harmony. And in California, where America's youth culture was being born, a trio of songwriters -- Brian Wilson, Roger Christian and Gary Usher -- were drawing up the blueprints for the West Coast sound. This collection explores Gary Usher's tenure as co-architect of the happiest pop music ever written, a guileless celebration of sun, surf and cars that's become an enduring symbol of the American dream. Barefoot Adventure does more than simply collect a bunch of songs that sound great on the car radio and mean exactly what they say (take that, psychedelic music!). It's also a remarkable glimpse of the process, of a struggling songwriter angling for a break, sometimes tap dancing in tangents, oblivious to the bullseye he was hitting on the way to forging an important new sound. So here's the whole story, 36 terrific tracks, including exclusive Sundazed interviews with Usher himself, with an illuminating essay and track commentary by author and Usher-biographer Stephen McParland. It's musical scholarship that's perfect for parties! We're not sure if this is history masquerading as fun, or vice-versa, but we're definitely sure that it's fun. Which, in the end, is all that matters."

"A key transitional touchstone in The Byrds' fabled canon, 1969's Dr. Byrds & Mr. Hyde was the next stop in the band's pioneering country-rock trajectory and the first album by the post-Gram Parsons lineup. With leader Roger McGuinn at the helm of a stellar new edition of the band featuring guitar god Clarence White, drummer Gene Parsons, and bassist John York, Dr. Byrds & Mr. Hyde sees The Byrds bridging the gap between the psychedelic flights of the group's mid-'60s albums and the down-home, country-based style developed only months earlier with Sweetheart of the Rodeo. In addition to containing strong McGuinn originals ('King Apathy III,' 'Old Blue'), more of the band's beloved interpretations of Bob Dylan classics ('This Wheel's on Fire' and a medley blending The Bard's 'My Back Pages' with Jimmy Reed's 'Baby, What You Want Me to Do'), and even a Gram Parsons collaboration (the bemusing 'Drug Store Truck Drivin' Man,' which cleverly celebrates The Byrds' love of country music while simultaneously taking a dig at small-minded rednecks), Dr. Byrds & Mr. Hyde also boasts two tracks composed by McGuinn for the obscure, racy '60s cult movie Candy. Mastered from the original Columbia Records analog master reels, Sundazed's exact reproduction of the original LP will have Byrdmaniacs everywhere soaring to high heaven!"

"From their earliest days as 12-string-wielding folk-rockers, to the thrilling psychedelic excursions of their raga-rock period to their 1968 birthing of country-rock, The Byrds were always accorded a hero's welcome in England. What better place to record founding Byrds member/guitarist/singer Roger McGuinn's new version of the band-featuring fretboard ace Clarence White, bassist Skip Battin and drummer Gene Parsons, than London's Royal Albert Hall! Rescued from a tape that had sat forgotten in McGuinn's climatized garage for decades, this stellar 1971 set, featuring live versions of the current band's studio faves ('Lover of the Bayou,' 'Chestnut Mare') as well as adventurous reworkings of Byrds classics ('Mr. Tambourine Man,' 'My Back Pages,' 'Eight Miles High,' 'So You Want to Be a Rock 'n' Roll Star') might be the most accurate and stirring live performance yet of the legendary Los Angeles combo. By 1971, the guitar interplay of McGuinn and White had become a jaw-dropping highlight of their live performances, as had their stripped-down, acoustic mini-set and peerless four-part vocal harmonies. As McGuinn, in typically understated fashion, says of this new Sundazed release: 'It was a great night, so I'm happy there's a record of it!'"

...Garage and Psych Howlers From The Vaults Of Trod Nossel Studios '66-'68. "The pounding garage-rock din emanating from the jungles of deepest Connecticut could overwhelm the senses, causing the weary NY commuter to become disoriented! Who knew that the most deranged '66-'68 teenage mayhem imaginable would come from Wallingford's Trod Nossel Studios, whose owner/producer Thomas 'Doc' Cavalier (a former dentist) recorded top-flight acts as diverse as the tough 'n' melodic Shags ('Don't Press Your Luck'), the R&B-consumed Wildweeds ('No Good to Cry,' featuring a Pre-NRBQ Al Anderson on vocals) and fuzzed-out punks the Bram Rigg Set ('I Can Only Give You Everything'). SUNDAZED presents the high-impact, garage-rock havoc -- at least two-thirds of it totally unreleased -- that finally tears the lid off Connecticut's best-kept rock 'n' roll secret!"

1996 reissue. "Flushed from Fayetteville, North Carolina -- where they thought they could remain comfortably obscure -- by our release of their only album, the Runners have recently re-surfaced. Issued in ultra-limited quantity by B.T. Puppy in 1970 -- and now changing hands for sums more familiar to NASDAQ -- this is an otherworldly blend of sweet female blotter acid harmonies, hypnotic Farfisa and high-octane fuzz guitar histrionics."

"The wildly eclectic New Rhythm & Blues Quintet, better known to its worldwide legion of adoring fans as NRBQ (or just the Q!), is the only band on the planet that can play rockabilly, bar-band blooze, Beatles sound-alikes and Sun Ra-style free jazz in the same set and remain standing. By the time keyboardist Terry Adams, vocalist Frank Gadler, bassist Joey Spampinato, drummer Tom Staley and fabulous new guitarist Al Anderson released Scraps, their wonderful second album in 1972, they had relocated from Florida to New Jersey, and, like their name says, they were actually a quintet for the only time in their career. From the infectious 'Howard Johnston's Got His Ho-Jo Working' to the lovably understated 'Magnet,' Scraps is loaded with NRBQ classics that lived up to the eye-popping press garnered by their self-titled 1969 debut."

"The Q immediately followed Scraps with 1973's equally terrific Workshop. Gadler had departed, reducing the quintet to its customary foursome (natch!), but the band never missed a beat with an album that featured the hypnotically chugging 'Come On If You're Coming,' the mouth-watering 'RC Cola and a Moon Pie' and the ultra-prophetic 'Get That Gasoline Blues.'"

"You've got it, Sherlock, their album title refers to the end of the world as we know it on that cataclysmic day of reckoning (no Hallmark cards available yet). And the advent of earsplitting, cortex skewering bands like the Maze really did signal the sultry dog days of the sixties. But just like that ultimate orgasmic blast at the end of a great fireworks show, what a perfect way to go." Limited stock.

"Volume 7, That's How It Will Be!, spotlights incredible genre cornerstones by the Liberty Bell, Unrelated Segments, Outcasts and Mad Hatters. In unparalleled fidelity with detailed liner notes by garage-guru Jeff Jarema, hideously rare photos and vintage label repros! In the words of the notorious infomercial, 'if you had to buy all these records individually...' well, um, you just couldn't."